The woman was sleeping, her work done; yet she suggested that there was beauty in those old methods which, for all their utility, was lacking in the new.
"It is probably the best work that Lovet Forbes has done," said the secretary, who came round with us.
"He is the coming man, they say," Quarles remarked.
"He has surely arrived," was the answer, "for the critics are unanimous as to the beauty of this."
"Yes, it is remarkable in idea and execution. I am told the famous dancer, who has recently disappeared, was the model for the recumbent figure."
"So I understand. The figure is the gem of the whole composition."
Quarles was not inclined to endorse this opinion, and the secretary was nothing loath to argue the point.
The discussion led to a close examination of the figure, Quarles arguing that it was out of proportion in comparison with the standing figures, a comment which the secretary met with some learned words on the laws relating to perspective.
They were both a little out of their depth, I thought, and after a few moments I did not pay much attention to them. My thoughts had gone back to Musgrave's picture and to Forbes's bust of Madame Vatrotski. Zena had said that the real woman was probably somewhere between the two, and as I looked at the figure for which the dancer had been the model I felt she was right.
I suppose the limbs were perfect, but it was the face which chiefly interested mo. It was like Musgrave's picture, but it was more like Forbes's bust, with something in it which differed entirely from the bust and from the picture.